After being defeated in combat by his half-sister Hela (Cate Blanchett), Thor (Chris Hemsworth) ends up as an imprisoned gladiator on a distant world ruled by the Grandmaster (Jeff Goldblum). Now, he must work together with fellow Avenger the Hulk (Mark Ruffalo), another combatant fighting for the Grandmaster’s pleasure, in order to escape and return to Asgard before Hela can unleash the world-ending event known as Ragnarok.

Norma

This opera is an extraordinary fusion of sublime melody, vocal challenge, and dramatic power. It examines an ageless and archetypal situation: a powerful woman compromises her ideals for love, only to find herself betrayed by her lover. But equally gripping is her relationship with the younger woman who is the new object of her former lover’s attention and in whom Norma sees both a rival and a second self. The title role demands dramatic vocal power combined with the agility and technique of a coloratura singer. It is a daunting challenge that few can rise to: those who have are part of operatic lore.Soprano Angela Meade and mezzo-soprano Jamie Barton star in the Met’s new production of Norma, reprising their acclaimed 2013 portrayal of the title role and Adalgisa, respectively. Tenor Joseph Calleja is Pollione, Norma’s unfaithful lover, and Joseph Colaneri conducts. Sir David McVicar’s evocative production sets the action deep in a Druid forest where nature and ancient ritual rule.

The opera is set in Gaul (France) at the beginning of its occupation by the Roman Empire. Almost all of the characters are druids, members of the Gallic priesthood, the only exceptions being the tenors, both of whom are Romans. It is interesting that the Roman Empire, long depicted in European culture as a civilizing force, is here seen as corrupt and exploitative.

Norma is perhaps the archetypal bel canto opera, a style of singing that flourished in Italy in the 18th and early 19th centuries. Its principal features are beauty of tone, legato phrasing, and the delivery of florid ornamentation. The score of Norma is characterized by extraordinary melody punctuated by sharp moments of raw drama. The primary functions of the clear orchestral writing are to move the drama along with vigorous rhythm and to inform certain moments with feeling and emotion.

Estimated Run Time 3 hrs 4 mins

Cast

Conductor Carlo Rizzi

Conductor Joseph Colaneri

Norma Sondra Radvanovsky

Norma Marina Rebeka

Norma Angela Meade

Adalgisa Joyce DiDonato

Adalgisa Jamie Barton

Pollione Joseph Calleja

Oroveso Matthew Rose

Oroveso Vazgen Gazaryan

Norma: Woman on Fire

Norma: “Ah! bello a me ritorna”

Norma: “Mira, o Norma”

Norma: “Sì, fino all’ore estreme”

Norma: Trailer

Sondra Radvanovsky in Norma

Sondra Radvanovsky and Sir David McVicar on the Met’s new production of Norma

Creators

Vincenzo Bellini (1801–1835) was a Sicilian composer whose greatest gift was his extraordinary understanding of the human voice. His meteoric career was cut short by his death at the age of 33, shortly after his opera I Puritani triumphed in its Parisian premiere. Felice Romani (1788–1865) was the official librettist of Milan’s Teatro alla Scala. A frequent collaborator of Bellini, he worked with the composer on six operas, and also wrote the libretti for Donizetti’s L’Elisir d’Amore and Anna Bolena, among many other works.

After being defeated in combat by his half-sister Hela (Cate Blanchett), Thor (Chris Hemsworth) ends up as an imprisoned gladiator on a distant world ruled by the Grandmaster (Jeff Goldblum). Now, he must work together with fellow Avenger the Hulk (Mark Ruffalo), another combatant fighting for the Grandmaster’s pleasure, in order to escape and return to Asgard before Hela can unleash the world-ending event known as Ragnarok.

In the summer of 1983, in the north of Italy, Elio Perlman, (Timothée Chalamet) a 17-year-old American spends his days in his family’s 17th century villa lazily transcribing music and flirting with his friend Marzia (Esther Garrel). One day Oliver (Armie Hammer), a 24-year-old graduate student working on his doctorate arrives as the annual summer intern tasked with helping Elio’s father (Michael Stuhlbarg), an eminent professor specializing in Greco-Roman culture. Soon, Elio and Oliver discover a summer that will alter their lives forever. CALL ME BY YOUR NAME, directed by Luca Guadagnino and written by James Ivory, is based on the novel by André Aciman.

This /historical drama from Joe Wright focuses on the trials of Winston Churchill (Gary Oldman) in the days after he becomes Prime Minister in 1940. With the German armies rolling through Europe, Churchill must figure out how to rally the nation as many of those around him advocate peace talks with Hitler.

“The World War II drama is one of this year’s hottest Oscars contenders and audiences have been showing their appreciation around the world. During the final scene of Darkest Hour, Oldman’s Churchill addresses the House of Commons with the famous “We shall fight on the beaches” speech, in June 1940. According to the Telegraph, the famous piece of oratory has been met with “extraordinary” standing ovations in the both the UK and US. One of Darkest Hour’s producers, Eric Fellner, admitted he was surprised by the news, saying it “very rarely happens.”

– Express

PG · 2018 · 2hr 5min · Biography/History

Tickets: $10 Adult, $9 with Film Buff Card, $8 Youth.

All prices include HST.

General admission seating.

Doors open 45 minutes before showtime. Thank you to our community partner Annapolis Home Hardware.

This /historical drama from Joe Wright focuses on the trials of Winston Churchill (Gary Oldman) in the days after he becomes Prime Minister in 1940. With the German armies rolling through Europe, Churchill must figure out how to rally the nation as many of those around him advocate peace talks with Hitler.

“The World War II drama is one of this year’s hottest Oscars contenders and audiences have been showing their appreciation around the world. During the final scene of Darkest Hour, Oldman’s Churchill addresses the House of Commons with the famous “We shall fight on the beaches” speech, in June 1940. According to the Telegraph, the famous piece of oratory has been met with “extraordinary” standing ovations in the both the UK and US. One of Darkest Hour’s producers, Eric Fellner, admitted he was surprised by the news, saying it “very rarely happens.”

– Express

PG · 2018 · 2hr 5min · Biography/History

Tickets: $10 Adult, $9 with Film Buff Card, $8 Youth.

All prices include HST.

General admission seating.

Doors open 45 minutes before showtime. Thank you to our community partner Annapolis Home Hardware.

Based on the true story of Molly Bloom (Jessica Chastain), an Olympic-class skier who ran the world’s most exclusive high-stakes poker game for a decade before being arrested in the middle of the night by 17 FBI agents. She is charged with operating an illegal gambling business.

She immediately contacts her defense lawyer Charlie Jaffey (Idris Elba). Her players included Hollywood royalty, sports stars and business titans. She also manages to get the attention of the Russian mob. She is offered complete immunity in exchange for hard drives that will bring down the mob. However, Molly has a different plan and isn’t willing to give up.

Who’s Afraid of Virginia Woolf?

Sonia Friedman Productions present Imelda Staunton (Gypsy, Vera Drake, the Harry Potter films); Conleth Hill (Game Of Thrones, The Producers); Luke Treadaway (The Curious Incident of the Dog in the Night-Time, Fortitude, The Hollow Crown) and Imogen Poots (A Long Way Down, Jane Eyre) in James Macdonald’s new production of Edward Albee’s landmark play, broadcast live to cinemas from the Harold Pinter Theatre, London.

In the early hours of the morning on the campus of an American college, Martha, much to her husband George’s displeasure, has invited the new professor and his wife to their home for some after-party drinks. As the alcohol flows and dawn approaches, the young couple are drawn into George and Martha’s toxic games until the evening reaches its climax in a moment of devastating truth-telling.

Based on the true story of Molly Bloom (Jessica Chastain), an Olympic-class skier who ran the world’s most exclusive high-stakes poker game for a decade before being arrested in the middle of the night by 17 FBI agents. She is charged with operating an illegal gambling business.

She immediately contacts her defense lawyer Charlie Jaffey (Idris Elba). Her players included Hollywood royalty, sports stars and business titans. She also manages to get the attention of the Russian mob. She is offered complete immunity in exchange for hard drives that will bring down the mob. However, Molly has a different plan and isn’t willing to give up.

Now in her eighties, Agnès Varda remains the world’s most youthful filmmaker. Her latest nonfiction film is an inspired collaboration with JR, the mysterious French street artist. Like many of Varda’s works, Faces Places is a kind of travelogue in which the wonder of each locale visited is only as potent as the populace whose existence affects it. Their plan is simple: Varda and JR roam from place to place in JR’s truck, which is decorated to resemble a camera. In each place they visit, they meet people — coal miners, cheese makers, a Herculean farmer — and JR creates immense monochromatic portraits of them. Our endearing duo then affixes these portraits to various edifices all over town, quite literally, merging faces with places.

The landscape Varda and JR traverse becomes a visual record of their encounters. Among Faces Places’ most amusing refrains is Varda’s annoyance at JR’s refusal to remove his sunglasses, which she says reminds her of Jean-Luc Godard in the ’60s. The contrast between Varda’s French New Wave cohort, who represents her six-decade legacy, and JR, who embodies her vibrant present, speaks volumes about the scope of this amazing auteur’s durability and persistence of vision. “What emerges from them, and from the relationship between the 88-year-old filmmaker and the thirty-something photographer, is a poignant meditation on everything from self-revelation in the age of the selfie to change in rural France. This rich cross-generational exchange speaks to the persistence of French cinematic culture – Varda’s relationship with the pioneering filmmaker Jean-Luc Godard is a recurring theme – while the doc itself is a delight, subtle, touching and entertaining.”
–The Globe and Mail

“Agnes Varda is almost 90 years old and she is still making films. That alone should be cause for dancing in the streets. But wait, there’s more: Agnes Varda is almost 90 years old and she is still making fantastic films. Searching, compassionate, provocative, funny, sad ones. This is one of them. You should see it, and then go dancing in the streets.”
RogerEbert.com

About King's Theatre

Get comfortable in our intimate 220-seat theatre…
air conditioned in summer, toasty warm in winter.
Located in the heart of Annapolis Royal, Nova Scotia, Canada…
a vibrant, culturally rich, unique place to live.